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Mood Boards as a Design Catalyst and Resource: Researching an Under-Researched Area
Abstract
Mood boards are one method that can improve inspiration and communication during a design process. These mood boards are typically a collection of abstract media which the designer uses for personal inspiration and also to discuss and communicate with the client and possibly other stakeholders including users. The authors' experience as both designers and educators indicates that mood boards are a 'love it or hate it' issue. Some claim mood boards can inspire creativity and aid communication. Others dismiss them as of no value. The literature is curiously limited on the subject, possibly due to the subjective nature of the issue. This paper starts to explore the potential of mood boards as design research and support tools by looking at both practising and student industrial designers' attitudes to and use of mood boards. The authors conducted a scoping study that is discussed in this paper. The findings revealed that design practitioners valued mood boards as a tool for communication with non-designers and as an instrument to inspire lateral thinking. However, mood boards were undervalued and misunderstood by the sample group of industrial design undergraduate students.
... Previous studies have discussed specific sources of inspiration, their role and use in design (Eckert & Stacey 2000;Mete 2006;Omwami, Lahti & Seitamaa-Hakkarainen, 2020), as well as the kinds of activities designers engage in when seeking inspiration (Biskjaer et al. 2020;Gonçalves, Cardoso & Badke-Schaub 2016;Mougenot et al. 2008). Prior literature has considered the usage of mood boards as a tool for seeking out inspiration, and for problem solving in design and design education (Cassidy, 2011;Endrissat et al., 2016;McDonagh & Storer, 2004;Omwami, Lahti & Seitamaa-Hakkarainen, 2022). Despite their acknowledged potential, we lack a systematic analysis on how mood boards are created in collaboration -thus one of the purpose here, is to illuminate this process. ...
... A mood board offers a visual, sensorial, and abstract method with which to ground the design process (Cassidy, 2011;Endrissat et al., 2016;Garner & McDonagh-Phillip 2001;Mcdonagh & Storer, 2004). Given its abstract nature, a mood board may encourage the designer to design with metaphors (e.g.s Omwami, Lahti & Seitamaa-Hakkarainen, 2022), a quality recognized for its potential value in enhancing creativity (Gonçalves et al. 2014;KhakZand & Babaei 2018). ...
... The quest for material for the board appeared to nourish the teams' thought processes, fostering reflective discussions about their work (cf. Garner & McDonagh-Philip, 2001;McDonagh & Storer, 2004). Additionally, the tangible and visual representation of ideas facilitated team dialogue by offering contextual reference points and serving as 'material anchors' (cf. ...
Mood boards have notable potential to serve as inspirational tools in design. However, we still do not fully understand how mood boards are created utilizing material found online in collaborative educational settings. The purpose of our study is to deepen our understanding of both team design and the creation of shared digital mood boards through a qualitative analysis on how three student teams created shared mood boards using computers, and how they gathered inspirational material from the Web. We discuss how the creation of a shared mood board is a complex process, including deepening and broadening cycles, where a key idea is either explained more thoroughly, or then expanded with additional, related ideas. In relation to mood board ideas, the teams decided the specific keywords to be used to gather images online, balancing the design constraints, with an intuitive yet systematic way of working. We encourage to acknowledge a digitally created mood board as a collaborative method for creating meaningful starting points for designing, and for finding inspiration outside the direct design problem. Our study provides information which is beneficial for developing pedagogies that include collaboration and the use of online inspirational material.Keywords: team ideation; mood board; sources of inspiration; online material; metaphor; design education
... Mood boards can be observed as one visual tool for designing. According to Denton (2005, see also McDonagh &Storer, 2004;Garner & McDonagh-Philip, 2001), mood boards, compared to a verbal-only approach, offer a visual and sensorial tool for communication and inspiration. Garner andMcDonagh-Philip (2001, also Cassidy, 2011) have paid attention to how mood boards could be better exploited within the field of design education. ...
... Garner andMcDonagh-Philip (2001, also Cassidy, 2011) have paid attention to how mood boards could be better exploited within the field of design education. In design education, for example, McDonagh and Denton (2005) and McDonagh and Storer (2004) analysed design students' attitudes towards the use of mood boards and their perceptions of specific mood boards. As craft-teacher educators, we are interested in gaining deeper understanding of the productive combination of collaborative and individual work in the context of apparel design. ...
... As craft-teacher educators, we are interested in gaining deeper understanding of the productive combination of collaborative and individual work in the context of apparel design. According to earlier studies (e.g., Garner & McDonagh-Philip, 2001;Lucero, 2012;McDonagh & Storer, 2004;Endrissat, Islam, & Noppeney, 2016), there are many positive factors that encourage the usage of mood boards in design. Deriving its origins from the studies of clothing and fashion design, and the relation between clothing design and mood boards, our study aims to analyse the connection between collaboratively created visual mood boards and individual idea development in students' clothing design processes from the students' perspective. ...
... As craft-teacher educators, we are interested in gaining deeper understanding of the productive combination of collaborative and individual work in the context of apparel design. According to earlier studies (e.g., Garner & McDonagh-Philip, 2001;Lucero, 2012;McDonagh & Storer, 2004;Endrissat, Islam, & Noppeney, 2016), there are many positive factors that encourage the usage of mood boards in design. Deriving its origins from the studies of clothing and fashion design, and the relation between clothing design and mood boards, our study aims to analyse the connection between collaboratively created visual mood boards and individual idea development in students' clothing design processes from the students' perspective. ...
... In the field of design, mood boards are commonly used (see Cassidy, 2011;McDonagh & Storer, 2004). Instead of offering a visual collection of real-life products, a mood board is an abstract way to root the design process. ...
... Lucero (2012) describes that within fashion and textile design, the creation of a mood board helps the designer to set a starting point at the beginning of a collection's development. Conversely, McDonagh and Storer (2004) state that mood boards can be created before the generation of an actual design brief. They continue, the selection of visual data for a mood board provides valuable information and encourages lateral thinking (also Garner & McDonagh-Philip, 2001 (2012) and Endrissat et al. (2016) have stated that mood boards have an aligning and communicative role in the design process. ...
Proceedings of the DRS LEARN X DESIGN 2021: 6th International Conference for Design Education Researchers
Engaging with Challenges in Design Education: 10th Anniversary of the International Conference for Design Education Researchers
Editors: Erik Bohemia; Liv Merete Nielsen; Lusheng Pan; Naz A.G.Z. Börekçi & Yang Zhang
Section Editors: Úrsula Bravo; Catalina Cortés; Jeannette LaFors; Fabio Andres Telle; Natalia Allende; Eva Lutnæs; Karen Brænne; Siri Homlong; Hanna Hofverberg; Ingvill Gjerdrum
https://learnxdesign.net/lxd2021/
... It has long been used for communicating emotional qualities between designers and clients [9]. The process of mood board making also serves as a resource for creative thinking [10]. While mood board making has become an essential skill for design practice, we have seen its potential to be a research tool specifically for investigating non-verbal emotional experience. ...
... Comparing to systematic tools, experience based tools are usually quick-and-flexible solutions and do not have strict term of use [31]. On the other hand, the validity of experience-based tools is difficult to validate so that this kind of tool is rarely discussed in empirical studies [10,30]. ...
... Mood boards are a collection of visual images gathered together to represent an emotional responses to a design brief [34]. It is a visual and sensory instrument for designers to communicate with each other and also with the clients [10]. This tool functions as a nonverbal medium communicating complex and delicate emotional qualities that are difficult to express through languages. ...
We conducted an empirical study to answer the research question whether designers could generate richer affective content through mood boards when they are primed by archetypal media content, comparing to non-archetypal media content. Mood board making may stimulate more feedback from target users and help designers discover deeper insights about user needs and aspiration towards products. Today, mood board making has become an essential skill for designers. However, this technique did not gain adequate credits in terms of scientific evidence. It is necessary to assess the validity of mood boards to be an effective tool for studying unconscious emotions in design research. Four professional designers were asked to make mood boards for four different TV commercials (2× without archetypal content; 2× with archetypal content). All 16 mood boards are made online available to a group of 141 raters. In a random order all raters had to click on each mood board to view the full-size and give a rating of ‘attractiveness’ [0–100 score]. The GLM results of all ratings indicate that the attractiveness of the mood boards for archetypal media content and non-archetypal media content are significantly different (F = 15.674, df = 1, p < 0.001). The mood boards primed by archetypal media content (Mean = 54.42, SE = 1.55) are significantly more attractive than the mood boards primed by non-archetypal media content (Mean = 51.37, SE = 1.47). We conclude that mood boards are a enough good tool to investigate and use unconscious emotions what is relevant for addressing design challenges in different contexts.
... The purpose of moodboard visualisations in design ranges from informative to inspirational. They are useful for discussing with stakeholders, as well as tools for personal creativity (Mcdonagh & Storer, 2004;Lucero, 2012). The creation of these visualisations has primarily relied on the skills and effort of a human being, creating by using a pen and a paper, recording images and textures via photography, and perhaps using programs such as Photoshop to edit and create something new. ...
... The greatest strength of AI graphics generator lies on the ability to produce visualisations that provoke imagination at different styles and content combinations. However, the designers tend to be in a dialogue with their materials, and the moodboards are seen as sensory-centric approach containing both images and physical materials (Mcdonagh & Storer, 2004). While visual images are relied by novices, both images and physically sourced visual and tangible materials are most useful for designers (ibid.). ...
... Within the field of design, the visual boards function as a justification method to explain the design choices through visual [6]. There are 4 board types within a visual board [2]. ...
... This is done through a set of visual parameters; colour, texture, shape, material, shadow grooves, etc. features from the style boards images can be directly translated to the concepts. In addition, the products used in the style board aim to be as close to what the user or client would surround themselves with [6]. The purpose of the style board is to translate the abstract setting of the mood board into specific existing products. ...
... Beside conceptual speculations, designers can use a variety of design activities to engage with the materialization of conceptual ideas (Crilly et al., 2009). For example, collecting visual references that express the style and the feeling of the future product, and organizing them in mood boards or collages is a common practice to stimulate the embodiment of design intentions (Keller, Pasman, & Stappers, 2006;McDonagh & Storer, 2004). These collections of visuals help to specify the character that the product should express in order to evoke the intended experience. ...
... The second step asks designers to explore the intended experience by looking for sources of visual inspiration that describe it, gathered from various contexts, such as art, exhibitions, culture, trends, etc. The act of researching these visual references is a creative moment in itself, more than a simple consultation of pictures (McDonagh & Storer, 2004). Although still abstract in its representation, it corresponds to the first deep interpretation of the product vision, focusing more on 'how' that specific experience can be rendered in a product, than on 'what' kind of experience it will evoke. ...
Designing for pleasurable and engaging product experiences requires an understanding of how users will experience the product, sometimes at a very abstract level. This focus on user experiences, rather than on the formal qualities of the product, might cause difficulties for designers in the materialization of design ideas. Designers need to navigate through several choices, shaping and refining the product qualities in order to elicit the intended experience. To support this process, we propose a tool, the Experience Map, guiding designers in the progressive transformation of an ‘experiential vision’ into tangible formal qualities, considering all the opportunities perceived by the different senses. The paper presents the results of two studies in which we verified the potential of the Experience Map, first in a workshop with design students and second in four design cases with professional designers. The results show that the Experience Map can provide a good structure to organize creative thoughts and progressively decrease the level of abstraction, particularly to support novice designers. It stimulates greater confidence and awareness of design decisions, while allowing the exploration of several design directions in parallel. These benefits, together with the visually stimulating layout and its ability to foster awareness on design decisions, make the Experience Map an effective tool to support experience-driven design practice, especially in the early phases of the creative process and in the educational context.
... We designate a collection of images from the user as a Mood Board to express concepts that break free of the narrow categorical way of quantifying data. We draw inspiration from mood boards, widely used in the design community [9,26,41] to ensure everyone shares the same vision. ...
Expressing complex concepts is easy when they can be labeled or quantified, but many ideas are hard to define yet instantly recognizable. We propose a Mood Board, where users convey abstract concepts with examples that hint at the intended direction of attribute changes. We compute an underlying Mood Space that 1) factors out irrelevant features and 2) finds the connections between images, thus bringing relevant concepts closer. We invent a fibration computation to compress/decompress pre-trained features into/from a compact space, 50-100x smaller. The main innovation is learning to mimic the pairwise affinity relationship of the image tokens across exemplars. To focus on the coarse-to-fine hierarchical structures in the Mood Space, we compute the top eigenvector structure from the affinity matrix and define a loss in the eigenvector space. The resulting Mood Space is locally linear and compact, allowing image-level operations, such as object averaging, visual analogy, and pose transfer, to be performed as a simple vector operation in Mood Space. Our learning is efficient in computation without any fine-tuning, needs only a few (2-20) exemplars, and takes less than a minute to learn.
... Furthermore, we also acknowledge that designers' aesthetic preferences or biases can influence initial design concepts. Designers provide materials, such as brainstorming stimuli [25], mood boards [26], and technology probes [27], based on their understanding of client needs [28] to stimulate clients' further expression. However, individuals are experts in their own lives, and designers may find it difficult to empathize fully and guide clients unbiasedly in the early stages. ...
This paper revises aesthetics theory through the lens of authenticity and investigates practical applications using a co-design approach. We encourage designers to include ordinary clients as co-creators in the co-design process, guiding them in expressing their aesthetics, values, and preferences while stimulating their creativity. This paper proposes a bespoke design process framework for authenticity aesthetics that incorporates empathy, defining, ideating, prototyping, and testing. This framework delineates the roles and responsibilities of clients and designers at different phases and highlights evolving material mediums that enable their communication. The paper concludes by reflecting on consumerist aesthetics, advocating for designers to focus on the insights of ordinary clients, design for their authentic uniqueness, and recognize the broad prospects of bespoke design methods.
... Bu koleksiyonlar kendi başlarına bir amaç değildirler (Garner ve McDonagh-Philp, 2001, s. 59). Mood board'lar ilgili paydaşlara bir fikri, eğilimi veya vizyonu anlatabilmek, bu kapsamda iletişim kurabilmek, düşünmek ve tasarım özetinden ortaya çıkan farklı görüşlerini paylaşmak ve tartışmak için tasarım geliştirme sürecinin çeşitli bölümlerinde kullanılan görsel araçlarıdır (Lucero, 2012;Mcdonagh ve Storer, 2004). Araçların kendileri gerçek olmaktan ziyade kavramsal ve semboliktir. ...
z Farklı disiplinlerdeki tasarım süreçlerinde fikir geliştirme, ilham alma ve görsel iletişim kurma aracı olarak kullanılan mood board'ların film tasarım süreçlerinde de kullanımı yaygınlaşmaya başlamıştır. Genellikle filmlerin yapım öncesi aşamasında ihtiyaç duyulan amaçlara yönelik bir geliştirim aracı olarak farklı mood board tasarımları hazırlanabilmektedir. Gerek filmin bütününün veya bir sahnesinin/sahnelerinin teknik, artistik, estetik kararları hakkında bilgi veren gerekse farklı departmanların çeşitli tasarım geliştirme süreçlerinde kullanılan mood board'lar görsel bakımdan yaratıcı düşünmeyi tetikleyen, yeni fikirler ortaya atılmasını sağlayan, yapımın görsel iletişim yoluyla anlaşılmasını kolaylaştıran bir yapıya sahiptir. Bu özellikleri sebebiyle film fonlama sürecinde yönetmenin projeye olan hakimiyetini anlamak, yapımın fizibilitesini ölçmek, pazar potansiyelini düşünmek gibi amaçlarla mood board tasarımının yapılması beklenmektedir. Genel olarak film tasarımı sürecinde hazırlanan mood board'larda öncelikle filmin dramaturjisi yapılmakta, ardından resim, fotoğraf, renk paleti, yazı biçimi, çizim, şekil vb. farklı görsel iletişim materyalleri toplanarak mood board yüzeyine işlenmektedir. Bu çalışmada mood board'un yapısını, özelliklerini, ne gibi unsurlardan oluştuğunu ve nasıl uygulandığını tanımlamak, akabinde eylem araştırması yöntemi ile örnek bir film konusundan hareketle dramaturji yaparak bir mood board tasarımı geliştirmek amaçlanmıştır. İki farklı türde üretilen örnek mood board tasarımının film dünyasına ilişkin arzu edilen duygu durumunu, atmosferini, artistik kararlarını betimleyen çeşitli elemanlardan oluştuğu ve her bir mood board türünün kendine has, farklı işlevlere sahip olduğu görülmüştür. Halihazırda sinema sektöründe yoğun olarak kullanılan mood board ile ilgili bir akademik çalışmanın yapılmamış olması sebebiyle bu çalışmanın film tasarım süreçlerinde mood board hazırlanmasına ilişkin bir kaynak teşkil etmesi, uygulamayı tartışmaya açması, bu konuyla ilgili olarak farklı boyutları ele alan yeni akademik çalışmaların yapılmasına zemin hazırlaması arzu edilmektedir.
FILM DESIGN WITH MOOD BOARD: A CASE STUDY
Abstract
Mood boards, which are used as a tool to develop ideas, get inspiration and establish visual communication in design processes in different disciplines, have started to become widespread in film design processes. Different mood board designs can be prepared as a development tool for the needs of the film during the pre-production phase. Mood boards, which provide information about the technical, artistic and aesthetic decisions of the whole film or a scene(s) and are used in various design development processes of different departments, have a structure that triggers visual creative thinking, enables new ideas to be put forward, and facilitates the understanding of the production through visual communication. Due to these features, it is expected that mood board design will be made during the film funding process for purposes such as understanding the director's command of the project, measuring the feasibility of the production, and considering the market potential. In general, in the mood boards prepared during the film design process, first the dramaturgy of the film is made, and then pictures, photographs, color palette, font, drawing, shape, etc. different visual communication materials are collected and processed on the mood board surface. In this study, it is aimed to define the structure of the mood board, its features, what elements it consists of and how it is applied, and then to develop a mood board design by performing dramaturgy based on a sample movie subject with the action research method. It has been observed that the sample mood board design produced in two different types consists of various elements depicting the desired mood, atmosphere and artistic decisions regarding the movie world, and each type of mood board has its own, different functions. Since no academic study has been conducted on the mood board, which is currently used extensively in the cinema industry, it is desired that this study will constitute a resource regarding the preparation of mood boards in film design processes, open the application to discussion, and pave the way for new academic studies addressing different dimensions on this subject.
Keywords: Mood board, Visual communication, Film, Design, Dramaturgy.
... Mood boards are fundamental tools used in design education. The creation of mood boards involves cognitive processes in conceptual design and was used as not just a design tool but also a design research tool (Cassidy, 2011) for studying personal creativity (Mcdonagh & Storer, 2004;Lucero, 2012). Previous research has explored the use of GAI in mood board design, employing various tools like GANCollege (Wan & Lu, 2023), DesignAID (Cai et al., 2023), and Dream Studio (Lee et al., 2023). ...
... However, how those groups are arranged on the plane does not provide any additional meaning or information. Image boards are similarly presented as a "collage of collected pictures, illustrations, or brand imagery" (Martin & Hanington, 2012) but are created by the designer, for example, to capture a certain aesthetic or mood for a product, much like moodboards (McDonagh & Storer, 2005;Lynch, 1991). While the arrangement of entities in an image board is also carefully chosen by the designer, the method's description does not suggest specific ways of grouping the entities (Figure 2). ...
... Most exploration systems adjust and transform designers' own ideas by referring to other ones' ideas [72,79]. In terms of content, information from unrelated and distant domains can be applied in other domains [82], such as creating mood boards [57] or seeking biological inspiration for design [10]. Analogical distance is also critical for understanding these information properties. ...
Designers widely accept AI as a partner in the design process for its efficient and intelligent decision-making. However, AI is often not perfect, and AI error often makes humans dumbfounded. Literature has pointed out the value of such AI error, while still leaving its inspiration essence and application strategies uncharted from the practice perspective. This work focuses on bridging the practice gap by looking into and exploiting the imaginative "mislabeled" objects of object detection models. To gain insights into the inspiration of AI "error", we collected a dedicated AI "error" dataset from object detection and invited eight designers to share divergent comments on the "mislabeled" objects. Coding was then performed on the comments, which summarizes the inspiration of AI "error" into six atomic dimensions. Subsequently, we took a step further to an exploratory study, a comparative ideation experiment with 20 designers, investigating how to apply these inspiration dimensions to create ideas. Questionnaire and interview results revealed that essential inspiration of AI "error" could positively activate creativity, especially the "Outline" dimension. A design model CETR is then formulated by summarizing the application of atomic inspiration of "error" into four forms of creativity, which could be taken as a guideline for cooperative design with AI "error". In addition, we also sketch two approaches to generate more inspiring and applicable AI "error", elaborate on two principal characteristics of AI "error" for promoting creativity, and propose three strategies for better co-creating with AI "error". Finally, we provide insight into design research about AI self-awareness and human-AI collaboration.
... Personalized product design style representation and transfer. Mood board is a design method to visualize your design style, developed for communicating emotional qualities between designers and stakeholders to inspire lateral thinking [152]. AIGC could assist users create a new product style and apply it to different kinds of products using style transfer. ...
Smart product-service systems (Smart PSS), first coined in 2014 as a digital servitization paradigm, have experienced rapid development, especially in the past 5 years. Nevertheless, existing works still concern much on either the solution design principles or the service-dominant logic, while neglecting today's dramatic shift towards a human-object (machine) symbiotic manner. In this context, by introducing and leveraging advanced networking (e.g., Web 3.0), digitalization (e.g., mixed reality (MR)), and intellectualization (e.g., AI generated content (AIGC)) technologies, Smart PSS has embarked on the second revolution, as the so-called Smart PSS 2.0. To better distinguish such a new paradigm, this paper begins with a systematic review of the existing Smart PSS works, covering its 3 unique solution design characteristics (i.e., value co-creation, closed-loop design, and context awareness). Comparatively, it is found that proactive interaction design, human-SCPs symbiosis, and AIGC-enabled collaborative intelligence become new design features of Smart PSS 2.0. To unlock its power, illustrative examples with underlined technologies and value propositions are given in a grand vision. Both relevant academic researchers and industrial practitioners should re-position and well prepare themselves to embrace the future of digital servitization, i.e., Smart PSS 2.0.
... Mood boards merupakan kumpulan media abstrak yang digunakan desainer untuk inspirasi dan bahan diskusi terhadap klien. Hasil dari wawancara menghasilkan beberapa data sebagai acuan dalam perencanaan [15]. Pada tahap ini, pengumpulan data yang relevan sebagai referensi dan gaya desain sesuai dengan hasil wawancara dijadikan berupa mood boards. ...
Brand identity is an important aspect in the world of business and marketing. A strong brand identity can help a company differentiate itself from competitors, create an emotional connection with customers, and influence their perception of the products or services offered. In the current era of globalization and digitalization, brand identity is becoming increasingly relevant to gain customer attention and loyalty. This research was conducted to explain; (1) Providing a strong brand identity can provide a significant competitive advantage. Companies with a cohesive and positive brand identity tend to be more successful in retaining customers, attracting new customers, and maintaining their market share. (2) Knowing brand identity can help understand the relationship between strong brand identity and customer loyalty. Customers who feel emotionally connected to a brand are more likely to remain loyal and contribute to a company's long-term revenue; (3) knowing brand identity can also play an important role in company growth. With a strong brand, companies can more easily expand their products or services into new markets and attract investors or potential business partners. Data collection techniques focus on initial surveys, determining the problem formulation, determining research methods, processing and analyzing data, and creating a final report. The results of research on brand identity design for a company include visual communications such as logos, colors and graphic designs, as well as brand narratives in marketing messages, all of which contribute to brand identity. It is hoped that the findings of this research can provide recommendations that logos are very important in building a brand's identity.
... While verbal language has long been the primary mode of communication in professional collaborations, it is sub-optimal for accurately describing our inner experiences, especially for freefloating and vague experiences like moods. When designing for experiences, designers overcome this limitation by adopting a multimodal approach, which can include visual (e.g., McDonagh & Storer, 2004), auditory (Tajadura-Jiménez & Västfjäll, 2008), tactile (Isbister et al., 2007), and kinesthetic (Cancienne & Bagley, 2008) channels to complement and strengthen communication with words. This embrace of multimodality connects with the increasing attention in design and HCI research to materiality as a vital aspect of design (Doordan, 2003). ...
... There are additional explanations for the aims of moodboards. In this case, the participants created moodboards to jointly reflect on the form, color, shapes, and style of VM board information to be designed, which corresponds to one of the aims suggested by McDonagh & Storer (2004) where moodboards commonly refer to a designer-user situation. However, the creation of moodboards has additional purposes in participatory design. ...
This paper presents a sub-study on participatory design in visual management (VM), bracketed from a larger case study. In this case, VM refers to the recurrent meetings when managers and co-workers use dashboards (VM boards) to continuously organize work activities and performances and contribute to the ongoing development and improvements within the organization. The study focuses on when the managers and co-workers are participating in the process of designing and visualizing work-related information regarding workload for future VM boards. This paper emphasizes collaborative workshops and the creation of moodboards as participatory methods, and the application of theories of metaphorical thinking and conceptual and visual metaphors. The findings show that participants perceive the visual output they create metaphorically, in this case, the moodboards. Such visual outputs represent conceptual and visual metaphors that evoke the participants’ sharing of core concepts and an establishment of stories related to the information to be designed. In turn, the metaphors and the storytelling stress desires, visions, objectives, and themes, besides workplace atmospheres, norms, and values governing the workplace. This understanding translates to shared work experiences where conceptual and visual thinking impact how work teams develop work-related information on VM boards together.
... She stated that "a picture is a thousand words and I prefer having the right image that I will cut out from the magazine and paste it onto my working board together with my hand drawn sketches". In this study the students managed to come up with their mood boards and in other successfully managed to communicate their design ideas as this is one of the key attributes of a mood board to communicate (McDonagh & Storer, 2004). A poorly constructed mood board may not be interpreted the same way with different viewers and in this study the students preferred to add both text and hand drawn sketches to help the viewers understand their design ideas. ...
A mood board provides a blueprint of the design process in a particular situational design problem. With the developments in the technology the process of making and presenting a mood board has now migrated to the various digital platforms. Traditionally designers in creative world used to make physical mood boards and this has changed as some now prefer the digital mood boards. The effectiveness of mood boards cannot be overemphasised especially in the fashion design world as they provide the visual impression which is a key source of inspiration to the designer. In this study ten final year students enrolled into a fashion design degree program were interviewed to assess their perception of digital and physical mood boards. The students were given a task to respond to a situational design problem and tasked to create their mood board physically and digitally and then evaluate the process they followed in coming up with their fashion mood boards. It was revealed that many students preferred the physical method as it is more engaging to the designer and informative though it is time consuming unlike as compared to the digital mood board. It was also revealed that due to the decrease in print media as technology is advancing sources of material that can be used in developing a physical mood boards have become less especially for the students who relied heavily on printed magazines. The study concluded that students need to be taught the process of making physical mood boards first before they do the digital mood boards and also there is need to improve individual graphic design skills so that they can improve quality of their digital mood boards.
... The present study used mood boards to generate a discussion around the theme of sustainability. Mood boards have been widely used as an experience-based tool to study emotions (Chang et al., 2014), or to provide inspiration, communicate specific concepts and encourage lateral thinking (McDonagh and Storer, 2004). However, the pictures in the mood board could have steered the discussion and results in a particular direction. ...
Visual packaging cues might assist consumers making sustainable choices. In a qualitative study potential packaging cues were explored (study 1). Those cues mostly related to sustainability were tested in a quantitative follow up study (study 2).
Study 1: Consumers (n = 30, 39.4 ± 17.1 yrs.) were divided in four focus group discussions in which participants completed a free association task and sorting task with 10 milk package designs which differed in colour, material and shape. Next, participants followed a semi structured focus group discussion in which they could elaborate on their answers. Results revealed 7 major themes: 1) nature of material, 2) expected visible harm to environment, 3) possibility to reuse and recycle packaging, 4) unnecessary packaging, 5) appearance of packaging (colour & feel), 6) incongruency of packaging with content, and 7) consumer and industry responsibility. Colour and material generated the most discussion around sustainability and were subsequently investigated in study 2.
Study 2: Consumers (n = 104, 26 ± 9.1 yrs.) were invited to an online survey during which they were presented with 4 pack designs which were manipulated in colour (i.e., white, vs cardboard brown) and materials (i.e., smooth vs rough). Cardboard brown and rough pack designs were perceived as significantly more sustainable than white pack designs (F(1,103) = 42.72, p < 0.001) and smooth pack designs (F(1,103) = 97.68, p < 0.001). No interaction was observed between material and colour in the impact of perceived sustainability.
Consumers’ perception of sustainability is mostly driven by their belief whether a packaging is recyclable and/or reusable. Visible carboard texture in combination with a carboard look increases consumers’ perception of sustainability.
... Some of these methods involve a perturbation of the current outcome or process to introduce novelty, either by inserting another individual's ideas into one's own-such as C-Sketch (Shah et al., 2001) andBrainwriting (VanGundy, 1984)-or by systematically changing parts of the solution to change existing ideas-such as SCAMPER (Eberle, 1971) or morphological matrices (Zwicky, 1967). Other methods-such as the creation of mood boards (McDonagh & Storer, 2004) or seeking biological inspiration for design (Deldin & Schuknecht, 2013)-incorporate the model of design as an information-seeking activity. ...
... Designers then position new logos within this landscape. For instance, designers routinely use mood or image boarding, whereby visual elements, such as the logos, fonts, and colors of existing brands in the focal category are composed on a board to stimulate thinking about the visual associations that a logo can activate (McDonagh and Storer 2004, Stigliani and Ravasi 2012, Endrissat et al. 2016, Miller 2016. These mood boards then serve as the basis for ideation for a final logo design. ...
The authors develop a decision support system for design and branding based on a multimodal variational autoencoder that merges image, text, and ratings data.
... Neste sentido, McDonagh e Denton (2005, p. 36) aponta que os painéis "são ensinados há muito tempo a estudantes de arte e design, mas raramente seu uso foi analisado". Este é um entendimento também compartilhado entre outros autores de pesquisas relacionadas ao painel, que citam não encontrar muitas pesquisas com algum aprofundamento nas formas de uso e aplicação da ferramenta (CASSIDY, 2008;FREEMAN;MARCKETTI;KARPOVA, 2017;STORER, 2004;PEREIRA, 2010). ...
Moodboard is an imagery tool used during the process of aesthetic definition (design) of the project and is intended to serve as an aesthetic-symbolic reference of the form and to align semantic concepts among the professionals involved. Despite being used frequently in academic and professional environments, researchers point out that the moodboard has a small amount of research aimed at exploring its construction procedures and applications. This article aims to identify published studies that address this tool as a main study element. The research procedure involved a systematic review of the literature, consulting eight databases. As a result, 22 researches were identified, which were divided into 5 thematic profiles and analyzed for their characteristics and contributions. It’s possible to notice in this context, that there is a tendency for research related to virtualization and automation of the moodboard elaboration process. It is concluded that the moodboard is still a tool with a small number of published researches and that these have, for the most part, been aimed at making the practices of its construction process more collaborative and rapid, contributing to the dynamics of the design processes.
... When design scenarios are not familiar with or target users are unclear, designers can seldom arouse emotional connections and thus develop empathy thinking. In design activity, emotional experience is significant to personal inspiration (McDonagh & Storer, 2004) but is challenging to support. Emotional experience tools e.g., a mood board can play five main roles of framing, aligning, paradoxing, abstracting, and directing in the early stages of the design process (Lucero, 2012). ...
Recent advances in Artificial Intelligence raise interest in its participation in design activity, which is commonly considered to be complex and human-dominated. In this work, we aim to examine AI roles in early design stages. The human ideation components and design tools related to AI are discussed in a framework of AI-augmented design support. The framework develops a hierarchy of design cognition (basis), approaches and principles. The cognitive models are constructed in an empirical study of 30 designers (26 for analysis, 4 for pilot study) by concurrent Think-Aloud protocol and behavior analysis. The process of producing new design ideas is explained by a transparent analysis of designers’ language and behaviors. Three strategies to organize cognitive activities in design ideation are summarized: develop structured consideration, relate to a scenario, and stick-to designing. These strategies suggest AI could act as (1) representation creation, (2) empathy trigger and (3) engagement, in principles of “knowledge-driven” and “decompose-and-integrate”. The design support with AI provides new perspectives on computer-based design tools that limit to well-defined design variables. The framework is built on a generic notion of design activity and “mimic” human design rationales, expected to benefit research of domain-independent computational design supports and cognitive supports.
... Designers then position new logos within this landscape. For instance, designers routinely use mood or image boarding, whereby visual elements, such as the logos, fonts, and colors of existing brands in the focal category are composed on a board to stimulate thinking about the visual associations that a logo can activate (McDonagh and Storer 2004, Stigliani and Ravasi 2012, Endrissat et al. 2016, Miller 2016. These mood boards then serve as the basis for ideation for a final logo design. ...
... The crawled images are presented in a mood board style as the output, as shown in the bottom image of Figure 5. A mood board is a collection of images used in the early phases of design for improving creativity and aiding communications (McDonagh and Storer, 2004;Setchi and Bouchard, 2010). ...
Analogy is a core cognition process used to produce inferences as well as new ideas using previous knowledge and experience. Ontology is a formal representation of a set of domain concepts and their relationships. The use of analogy and ontology in design activities to support design creativity have previously been explored. This paper explores an approach to construct ontologies with sufficient richness and coverage to support reasoning over real-world datasets for prompting creative idea generation. This approach has been implemented into a computational tool for assisting designers in generating creative ideas during the early stages of design. The tool, called “the Retriever”, has been developed based on ontology by embracing the aspects of analogical reasoning. A case study has indicated that the tool can be effective and useful for idea generation. The results have indicated that the tool, in its current formulation, can significantly improve the fluency and flexibility of idea generation and the usefulness of ideas, as well as slightly increase the originality of ideas, for the case study concerned.
... This research uses visual as well as traditional interpretative methods to explore transcultural attitudes of students of fashion and business from France, the UK and China towards fashion garments, which are not produced or representative of current trends and offering. Graphical and DAP (Draw a Picture) inspired methods are used to elicit visual representation of the understanding of this style (McDonagh and Storer 2004), and more traditional qualitative interviews explore the dimensions of the concept through the lense of divergent cultural backgrounds. The results inform the debate surrounding the boundaries of vintage fashion, in terms of its cultural heritage and place within different cultural contexts. ...
... This research uses visual as well as traditional interpretative methods to explore transcultural attitudes of students of fashion and business from France, the UK and China towards fashion garments, which are not produced or representative of current trends and offering. Graphical and DAP (Draw a Picture) inspired methods are used to elicit visual representation of the understanding of this style (McDonagh and Storer 2004), and more traditional qualitative interviews explore the dimensions of the concept through the lense of divergent cultural backgrounds. The results inform the debate surrounding the boundaries of vintage fashion, in terms of its cultural heritage and place within different cultural contexts. ...
... Les acteurs-métier guidés par notre démarche ont ainsi mis en place une relation de confiance (Barcellini, Grosse, & Karsenty, 2013) B. , 1996;Roussel & Lecoq, 1997;Martin C. , 2000;Skepper, Straker, & Pollock, 2000;Bouche, 2001 ;Leborgne, 2001;Broberg, 2007;Song, 2010). (Eckert & Stacey, 2000;McDonagh & Storer, 2004;McDonagh & Howard, 2005;Martin & Hanington, 2013) (Arhippainen & Tähti, 2003;Mahlke, 2007;Hassenzahl, & al., 2013;Daumal, 2015 (Bazzaro, & al., 2012 ;Charrier, & al., 2014 ;Charrier, & al., 2016 Guides de Connaissances (en particulier le GCP) tels que le focus groupe, la planche de tendances, le collage, la sonde culturelle, le jeu de cartes ou encore le journal personnel (Lucero & Vaajakallio, 2008;Martin & Hanington, 2013;Lallemand & Gronier, 2015). Le GCP co-renseigné par les personnes elles-mêmes pourrait ainsi transmettre des connaissances encore plus riches aux acteurs-métier de l'ergonomie et du design. ...
Lévolution des modes de vie conduit à une évolution des besoins et des souhaits des personnes, en quête «d'expérience », de « bien-être » et de « plaisir » à travers les produits qu'elles utilisent. Les entreprises doiventaujourd'hui satisfaire et séduire ces personnes de plus en plus exigeantes, en étant source d'innovation et denouveauté. Ainsi, elles s'intéressent de plus en plus dans leur démarche de conception de produits à une meilleureprise en compte du facteur humain. Faire vivre aux personnes des expériences positives et de qualité, demandeune démarche spécifique qui les placent au centre des préoccupations des acteurs-métier de la conception deproduits. Dans ce contexte, le processus de conception requiert l'intervention de différentes disciplines sensiblesjustement au facteur humain. Ainsi dans le cadre de nos travaux de recherche, nous nous sommes intéressés aurapprochement de l'ergonomie et du design, deux disciplines sensibles aux personnes qui évoluent vers denouvelles pratiques : le design pour « des besoins » et l'ergonomie prospective. Nous axons nos travaux derecherche sur les pratiques de ces deux disciplines qui convergent vers une vision commune, prospective et «humaniste » de la conception de produits, pour une meilleure prise en compte des personnes. Le principal enjeuscientifique de notre travail est de mieux cerner les pratiques actuelles, de l'ergonomie et du design dans uncontexte de conception de produits. Ceci, pour proposer à ces acteurs-métier une démarche (IDLifeS) et des outils(Guides de Connaissances), interdisciplinaires, qui correspondent à l'évolution de leurs pratiques respectives et quileur permettent de co-concevoir des produits et des situations de vie qui correspondent aux besoins, aux souhaits etaux caractéristiques des personnes.
... The crawled images are presented in a mood board style, as shown in Figure 6. Mood boards are collections of images used in the early stages of design process, which can improve creativity and aid communication (McDonagh and Storer, 2004;Setchi and Bouchard, 2010). ...
Idea generation plays a vital role in design, but coming up with ideas, especially creative ideas, is often challenging. Analogy is considered as a fundamental component of creativity and a beneficial method for idea generation. This paper presents a computer-based tool, named the Analogy Retriever, for assisting designers in idea generation and prospectively in idea elaboration. The tool is based on an algorithm simulating aspects of the human cognitive process of analogy. It is focused on solving proportional analogy problems (A:B::C:X) by retrieving the unknown term X from a knowledge database. The Analogy Retriever has been indicated to be useful and effective for helping the designers concerned generate creative ideas through conducting a case study. The results indicate that the Analogy Retriever, in its current formulation, can significantly improve the quantity, quality, novelty, and variety of the ideas produced. The tool is suggested to be greatly beneficial to design space exploration and expansion.
... Mood boards cover a wide range of visual representations from concept boards to sales boards, each having a specific use: from inspiration for designers to product communication for merchandisers. Research examining the evaluation of mood boards, namely creativity and expression of thematic elements, is lacking, perhaps because of the subjective nature often present when representing through visual means a feeling or idea (McDonagh and Storer 2004). Overall, creativity assessment in apparel and textile research is relatively limited, yet few researchers dispute the importance of creativity in the domain. ...
Mood boards are used frequently in design and product development as well as in academic courses related to fashion design. However objectively evaluating the creativity of fashion design mood boards is often difficult. Therefore, the purpose of this investigation is to examine reliability of a digital consensual assessment instrument measuring creativity, using expert (from related domains) and non-expert raters (students). Creativity measures were compared with the mood board themes to further investigate any relationships between mood board types and the consensual assessment. Independent samples t test comparing group means indicated expert raters evaluated the mood boards significantly higher in creativity than the non-experts, t (99) = −6.71, p < .001, (95% CI −.57, −.29), while Pearson correlation results indicate a significant relationship between the two groups of raters, r (50) = .33, p < .01. ANOVA results for all raters indicated a significant difference between the five subject matter categories; F (4, 95) = 4.64, p < .005. Overall, expert and non-expert raters reported significant reliability, which further supports prior research using consensual assessment for creativity measures across domains.
... Mood boards are a collection of visual images (e.g. photographs, material samples) gathered together to represent an emotional response to a design brief [18,19]. This technique enables designers to communicate and express themselves beyond linguistic restrictions. ...
Luxury has undergone a paradigm shift from materialism to experiential value. Millennials crave new and unique curated experiences, to see a place that few or none have seen. Sustainable luxury is the new luxury agenda, it offers the opportunity of a new design meaning for the next generation of gigayachts through an holistic approach encompassing a range of issues from addressing pollution to societal contributions. Arctic ice shrinkage is a global concern producing an opportunity for unique luxury experiences and urgently needed scientific research. This Design-Driven Innovation project presents a 300m sustainable luxury Ice-Class Arctic explorer vessel which supports scientific research and curated luxury experiences. It combines a futuristic exterior form with the interior urban flow of a cruise ship strongly influenced by architectural trends, resulting in the spectacularisation and conquest of landscape normally associated with cruise ships. Where drones capture a unique social media narrative of a once in a lifetime experience. The business model is based on private members club such as Quintessentially One. To support the sustainability agenda the vessel and tenders are hydrogen powered. The hydrogen is produced from renewable energy through a network of floating wind turbines located throughout the region.
MOOD BOARD İLE FİLM TASARIMI: ÖRNEK BİR ÇALIŞMA Öz Farklı disiplinlerdeki tasarım süreçlerinde fikir geliştirme, ilham alma ve görsel iletişim kurma aracı olarak kullanılan mood boardların film tasarım süreçlerinde de kullanımı yaygınlaşmaya başlamıştır. Genellikle filmlerin yapım öncesi aşamasında ihtiyaç duyulan amaçlara yönelik bir geliştirim aracı olarak farklı mood board tasarımları hazırlanabilmektedir. Gerek filmin bütününün veya bir sahnesinin/sahnelerinin teknik, artistik, estetik kararları hakkında bilgi veren gerekse farklı departmanların çeşitli tasarım geliştirme süreçlerinde kullanılan mood boardlar görsel bakımdan yaratıcı düşünmeyi tetikleyen, yeni fikirler ortaya atılmasını sağlayan, yapımın görsel iletişim yoluyla anlaşılmasını kolaylaştıran bir yapıya sahiptir. Bu özellikleri sebebiyle film fonlama sürecinde yönetmenin projeye olan hakimiyetini anlamak, yapımın fizibilitesini ölçmek, pazar potansiyelini düşünmek gibi amaçlarla mood board tasarımının yapılması beklenmektedir. Genel olarak film tasarımı sürecinde hazırlanan mood boardlarda öncelikle filmin dramaturjisi yapılmakta, ardından resim, fotoğraf, renk paleti, yazı biçimi, çizim, şekil vb. farklı görsel iletişim materyalleri toplanarak mood board yüzeyine işlenmektedir. Bu çalışmada mood boardun yapısını, özelliklerini, ne gibi unsurlardan oluştuğunu ve nasıl uygulandığını tanımlamak, akabinde eylem araştırması yöntemi ile örnek bir film konusundan hareketle dramaturji yaparak bir mood board tasarımı geliştirmek amaçlanmıştır. İki farklı türde üretilen örnek mood board tasarımının film dünyasına ilişkin arzu edilen duygu durumunu, atmosferini, artistik kararlarını betimleyen çeşitli elemanlardan oluştuğu ve her bir mood board türünün kendine has, farklı işlevlere sahip olduğu görülmüştür. Halihazırda sinema sektöründe yoğun olarak kullanılan mood board ile ilgili bir akademik çalışmanın yapılmamış olması sebebiyle bu çalışmanın film tasarım süreçlerinde mood board hazırlanmasına ilişkin bir kaynak teşkil etmesi, uygulamayı tartışmaya açması, bu konuyla ilgili olarak farklı boyutları ele alan yeni akademik çalışmaların yapılmasına zemin hazırlaması arzu edilmektedir. Anahtar Kelimeler: Mood board, Görsel iletişim, Film, Tasarım, Dramaturji. FILM DESIGN WITH MOOD BOARD: A CASE STUDY Abstract Mood boards, which are used as a tool to develop ideas, get inspiration and establish visual communication in design processes in different disciplines, have started to become widespread in film design processes. Different mood board designs can be prepared as a development tool for the needs of the film during the pre-production phase. Mood boards, which provide information about the technical, artistic and aesthetic decisions of the whole film or a scene(s) and are used in various design development processes of different departments, have a structure that triggers visual creative thinking, enables new ideas to be put forward, and facilitates the understanding of the production through visual communication. Due to these features, it is expected that mood board design will be made during the film funding process for purposes such as understanding the director's command of the project, measuring the feasibility of the production, and considering the market potential. In general, in the mood boards prepared during the film design process, first the dramaturgy of the film is made, and then pictures, photographs, color palette, font, drawing, shape, etc. different visual communication materials are collected and processed on the mood board surface. In this study, it is aimed to define the structure of the mood board, its features, what elements it consists of and how it is applied, and then to develop a mood board design by performing dramaturgy based on a sample movie subject with the action research method. It has been observed that the sample mood board design produced in two different types consists of various elements depicting the desired mood, atmosphere and artistic decisions regarding the movie world, and each type of mood board has its own, different functions. Since no academic study has been conducted on the mood board, which is currently used extensively in the cinema industry, it is desired that this study will constitute a resource regarding the preparation of mood boards in film design processes, open the application to discussion, and pave the way for new academic studies addressing different dimensions on this subject. Keywords: Mood board, Visual communication, Film, Design, Dramaturgy.
Earlier studies have indicated that mood boards have notable potential. The impact of collectively created mood boards on individual ideation, however, has not been thoroughly studied. This article demonstrates how to bring together collaborative and individual elements in design education. We analysed the role of specific, collectively created, mood boards in student-level conceptual design and how students describe this role. We asked the eleven craft education students participating in this study to develop shared mood boards in team design sessions, and to individually design an outfit utilizing a mood board. The data (i.e. video-recorded interviews, students’ visual and material artefacts, notes) were analysed qualitatively. The results indicated that the shared mood boards played an active role in the students’ processes by expanding their creative idea space and providing a context for their idea development. Our findings could be beneficial for developing craft education by combining collaborative and individual efforts.
This article examines trust in science from a systems-theoretical perspective, which assigns trust a complexity-reducing function. Based on a systematic literature review, we propose a systematisation of factors that influence trust in science by its publics.
This shows that trust in science depends on three contexts (science, publics, mediation) and their respective contextual factors (e. g. actors, subjective beliefs).
This article focuses on licensing – the practise of brand ‘extension’ – to investigate global media distribution as it contingently emerges from the infrastructural spaces of professional trade events. Licensing expos are not only aesthetic, legal and financial compounds that ‘produce’ media distribution by coordinating the exchange of economic assets and the provision of adaptations, ancillary goods and ‘scripted experiences’ for global blockbuster films and media franchises. They are also sites where diffuse forms of power circulate within and against the bodies of their attendees through assemblages of data, objects, architectures and repeatable technical standards. Through multi-sited participant observation at these affective infrastructures, the paper argues that the production of media distribution is inseparable from the production of subjectivities – of the professionals that make these events as well as the active audiences whose behaviours they aim at envisioning, preempting and shaping.
The car navigation function is mainly realized through the smartphone and the central control interface, both of which are not in the driver’s best field of vision, bringing potential safety hazards. Head-Up Display (HUD) projects information to the upper part of the ambitious vision, such as the car’s front windshield, which has a better driving experience and safety. This article adopts the case analysis method to analyze the classic design cases of navigation head-up display and proposes the information organization strategy and visual design strategy of HUD. It combines design examples to verify the feasibility of the information organization strategy and design strategy and provides a theoretical basis for the car interaction design.
Focusing on the problem of high-level semantic ambiguity in the initial concept. This paper aims to fill the gap between abstract design concepts and specific design solutions. In this paper, the high-level semantic visual representation process is divided into two parts: image representation and meaning acquisition. The mood board tool with three levels of scene layer, feature layer, and form layer is proposed. Two symbiotic clues existed in the mood board tool: visual cue and meaning cue, corresponding to image representation and meaning acquisition. The effectiveness and feasibility are verified through the case application of automotive styling design. The process of image expression and meaning acquisition embodies the unity of content and form in the process of high-level semantic visual representation. The mood board tool for high-level semantic visual representation provides validity and feasibility in bridging the gap between abstract design inputs and specific design outcomes.
The use of image elicitation methods has been recognised in qualitative research for some time; however, the use of mood boards to prompt participant discussion is currently an under-researched area. This article explores the use of mood boards as a data collection method in qualitative research. Used in design disciplines mood boards allow designers to interpret and communicate complex or abstract aspects of a design brief. In this study, I utilise mood boards as being part creative visual method and part image elicitation device. The use of mood boards is explained here in the context of a research project exploring masculinity and men’s reflexivity. In this article, I consider the benefits of utilising this method in researching reflexivity and gender before offering a critical appraisal of this method and inviting others to explore how mood boards might enhance research projects involving elicitation.
This paper explores conceptual design methods in the vehicle HMI design process. By adopting theory framework construction and case studies, we propose a mood board as the tool to integrate “software” and “hardware” in-vehicle HMI interaction design. The effectiveness and feasibility of this tool are supported by the industrial design undergraduate course, which is the transportation concept design. We were using the proposed mood board tool as an innovative approach assisting electric vehicle HMI design. Students of industrial design and interaction design got involved in the design process. We received positive feedback as to the effectiveness of the method with a satisfactory outcome overall.
Library collections have changed significantly in the past 50 years. A collection in a research library has moved from a physical repository – of books stored in a building – to one that is made up of digital materials, accessible from anywhere. Correspondingly, libraries’ approach to collection development has shifted. Where once libraries amassed as much material as possible, so as to fulfil any need of a patron, the library now focuses on providing access to digital items distributed across many sites. Access to library collection items is through digital interfaces, primarily the online catalogue. The graphical conventions of these catalogue interfaces are modeled on previous incarnations of the catalogue and blended with conventions drawn from the Web search engine. These conventions are all borrowed, not developed specifically for access to a library collection through a graphical user interface. This can be seen in three primary ways: the presentation of individual library records, the use of the single search box and the use of lists to display catalogue search results. The last of these is my central point of concern. The list is a graphical form that organises information and does not provide context for or communicate different types of relationships between search results. It is time to seek alternative ways of presenting library catalogue search results that take account of the affordances of the graphical user interface. The central research question of this thesis then is: how might new visual approaches to library catalogue interfaces enhance the search experience? Using a Research through Design methodology, I develop three prototypes through which I explore alternative approaches to the visual design of catalogue search results. The prototypes build on the research of scholars and practitioners seeking more generous approaches to library collection interfaces by providing a visual approach that contributes a relational understanding of library collections (Whitelaw 2012, 2015). This approach recognises that the graphical forms used to structure information are persuasive, rather than pragmatic and as such can be used to create new ways for researchers to understand the library collection.
This paper aims to describe an attempt to develop a design process for the enhancement of cultural factors in product design. Appearance–behavior–culture (ABC) theory was applied to construct the six design processes. To test the processes, a collaborative project designing a glass teapot was used, following the six developed design processes step by step, and each step is described. The discussion covers designer and client feedback during the design stages. Designers specifically commented positively on the use of 3-D printing technology as an efficient tool for effectively and quickly checking ideas.
Traditional design methodology was proofed to be reliable during about centaury of constant elaboration and polishing, however new trends such as sustainability and concerns about humans, determined establishments of new user-centered methods in fashion design methodology. Despite the widespread of techniques in western countries, such cultures as Ukraine still trouble to adopt system due to low flexibility of proposed methods. Research is designed to analyze current empathic methods and propose correlations to adopt those for Ukrainian consumers.
Kosslyn (psychology, Harvard U.) presents a 20-year research program on the nature of high-level vision and mental imagery--offering his research as a definitive resolution of the long-standing "imagery debate," which centers on the nature of the internal representation of visual mental imagery. He combines insights and empirical results from computer vision, neurobiology, and cognitive science to develop a general theory of visual mental imagery, its relation to visual perception, and its implementation in the human brain.
Descriptive research on group performance has produced neither a set of empirical generalizations sturdy enough to guide the design and management of work teams, nor interventions that reliably improve team effectiveness. As an alternative, a normative model of group effectiveness is proposed and discussed. The model identifies potentially manipulable aspects of the group and its context that are particularly potent in promoting team effectiveness, and organizes those factors to make them useful in diagnosing the strengths and weaknesses of task-performing teams. The final section of the paper explores the implications of the normative model, and outlines the beginnings of an action model for creating and maintaining effective work groups in organizations.
This paper defines and discusses ‘mood boards’– those assemblages of images and, less frequently, objects, which are used to assist analysis, creativity and idea development in design activity. There is need for discussion since little published information currently exists to guide students and tutors. The paper proposes that mood boards can assist problem finding as well as problem solving. Primarily, mood boards provide a mechanism for students and practising designers to respond to perceptions about the brief, the problem as it emerges and the ideas as they develop. The construction of mood boards potentially stimulates the perception and interpretation of more ephemeral phenomena such as colour, texture, form, image and status. They are, like Debono's lateral thinking techniques, partly responses to an inner dialogue and partly provocation to become engaged in such a dialogue. Examples are drawn from recent work in the field of industrial design at Loughborough University.
This paper presents the development, application and evaluation of a method for need identification in food product design, which combines the use of collage techniques and focus groups. Recent findings in neurobiology and psychology have considerable relevance for methodological improvement in consumer research. Based on these findings, a collage and focus group study aiming to identify feelings, emotions and experiences of consumers towards Home Meal Replacements, as well as relevant product attributes, is developed and performed. Its effectiveness is compared with that of (strictly) verbo-centric research previously carried out. Trends in image-based consumer research for product design are discussed.
This paper describes and analyzes a learning activity conducted on the first day of an undergraduate programme in industrial design. The exercise is intended to induct students and to bring to the fore a number of key messages at a time when students tend to be overwhelmed with their new experience as undergraduates. The activity was evaluated via direct observation by staff, student feedback at the debrief, a questionnaire on individual student responses to a number of issues in relation to their perceived value and difficulty, and peer evaluation of outcomes using criteria identified by the student group.
The activity is analyzed to establish the principles used to overcome other distractions and ensure key messages are internalized by students. The principles centre on novelty effects and use simulation, group working, an outdoor context away from the university and a whole working day rather than more conventional timetable structures. Staff are able to base immediate post-activity group discussion on the shared experience and so focus on the key messages: the nature of design activity, group-based design, modelling as a concept, decision-making, giving presentations, self-evaluation and assessment.
The paper, whilst descriptive of one event only, has relevance to colleagues involved with teaching on design-based courses.
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